Desert Eagle Gold Softair

TW Adorno, "Neue Musik", Protocols & popular atonal music. The role of the vanguard in representing the Invisible.

" The end of 'work of art is the determination of the indeterminate "(TW Adorno -" Aesthetic Theory ").---------------------------- ---

new expressive REPRODUCIBILITY OF AGE 'TECHNIQUE. 3rd part of the study on twelve-tone serialism and Neue Musik integrale, dededicato nello specifico all'apporto teorico di Theodor W. Adorno su quei processi che hanno determinato l'emancipazione della dissonanza e il moderno approccio alla musica contemporanea e all'electronic music. Nel saggio "L'opera d'arte nell'epoca della sua riproducibilità tecnica" (1930) Walter Benjamin sostenne che, con l'ingresso nell'epoca della "riproducibilità tecnica", l'opera d'arte aveva perso l'aura, quel quid sacrale che un tempo la caratterizzava. Non più unica, irripetibile, frutto del genio individuale e dell'ineguagliabile bravura del creatore o dell'interprete, l'arte avrebbe potuto mutarsi in esperienza comunitaria e di massa. In our modern electronic perspective, "what Benjamin attempts a period analysis is that opening the way to 'Moment Zero' theorized by Peter Grossi and which is widely spoken in the post " Instant Zer0 "- trials of Peter Grossi . But the conclusions are very different, because of the different theoretical approach and, of course, for the different specificities of the two. Pietro Grossi, a true pioneer of electronic music, computer music and father of absolute Home Art , loved and fully exploit the capabilities offered by the time stipulated 'Instant Zer0' , addentrandocisi and exploring the expressive potential. Benjamin, however, as a philosopher, he referred particularly to the prehistoric technologies, especially the emerging art of cinema and, perhaps with a little foresight, he saw only those aspects that would end all'irriproducibilità art and technology seen as a basic element the artwork (as if the "Paganini does not repeat" was the essence of the art of Paganini. Probably yes, but the evolution of media has created new forms and new contents, therefore, new modalities and manual techniques - in pop art, for example, industrial serialization was a precise method of expression, hence its reproducibility). Benjamin's reflection was not entirely wrong, but partial as compared with all the expressive arts, particularly as regards the language of music. In this sense, however, Theodor W. Adorno, as a musician, a friend of Alban Berg, Arnold Schoenberg and supporter of contemporary music New , took the signal from the revolutionary new method of Schoenberg and the incredible potential of expression that would be derived from the European Neue Musik and by 'cutting-edge Serial , bringing the same time, a strong criticism of the 'popular music' -popular music-and music functions subservient to profit.

"The light music and all the music for consumption [...] seems to be directly complementary all'ammutolirsi man, the extinction of the language as expression, inability of communication. It dwells in the gaps of silence between the men that start distorted by anxiety, from the routines and blind obedience [...] This music is perceived solely as a background sound: if no one is really able to speak, no one is not even able to hear [...] the power of the ordinary has been extended to society as a whole. "[" Introduction to the sociology of music. "]

ON POPULAR MUSIC. Adorno's critique of slave music the profit is very strong, his analysis of 'popular music' marked a pivotal moment in musicology and has, to date, the starting point for a study of the production report and within the social dynamics. "The power of the ordinary has been extended to society as a whole" seems heard the phrase current in relation to new commercial production: the popular music seems to have had to rise to this specific function 'banal' and seems to engulf even the expressions that were intended to be "free drift" as the electronic music, with an expansion of production determined by the already addressed this "democracy of the electronic music "and the subsequent enlargement of these" narcissistic expressions "that have little to express and therefore deplete an entire expressive language. As noted at the beginning, making it easier to understand with the comparison of the Benjamin-concept, the idea of Adorno is not a conservative pre-industrial model as commonly argued, but, in line with Marxist thinking, puts the work of art and aesthetic production, always in relation to the social dynamics that drive it (and vice versa, in a reflection mirror). The analysis of Adorno on popular music are surprisingly current and, apparently, timeless, being a very accurate reflection of the dynamics of production Art so inextricably linked to capitalism and liberal view of the market and reality.

DETERMINING THE UNCERTAIN, DO NOT REPRESENT THE-SAID: THE ART OF THE WORK FUNCTION AND THE ROLE OF THE avant-garde music. Adorno's condemnation of the standardization work of art, the aesthetic taste and consumption of music is so extreme, finding reason in his conception of the function of music and art in general that

"is not to ensure or to reflect the peace and order, but to force it to appear that the notice is placed below the surface, and then resist oppression of the surface of the front "["
Dissonance "].

Adorno's assertion reflects a totally acceptable in my way of looking at artistic expression and its function, simply pointing out what are the real reasons underlying the need to represent and generate signs, finally breaking away from that ' narcissistic complacency of the "pursuit of beautiful sound as a reflection of a beautiful person" in the musicians are almost always the victim or so-called "artists" in general, now as then (and especially now more and more victims of a mass production infinite). The act of 'bringing up' is the action then that is the function of art and the profound reasons for this, in a psychoanalytic vision seems trivially easily identifiable in bringing to the surface content deleted, the unconscious processes, a say in the index and represent the unclean, that seems to stop the human system and the dynamics of this, while realizing this vision vaguely Jungian, the act of generating it marks rather than the intent, tending to a Invisible representation of what you can not see hidden in the form, because of those realities outside the rarefied space-time categories, pure pristine environment that transcends the form in a search of the idea that lies beneath it, is replicated in the shape materials, producing material, sounds, colors. In a sense, Adorno's statement, in my opinion, a clear definition of Expressionism and Abstract Expressionism, and which aligns Metaelettronica in full agreement. The musician is of course Adorno avant-garde if it brings to light the unspoken , if psychoanalyze the reasons for the pain. The music, in what is similar to verbal language, because digging in the ground, but it is not language: 'music tends to a language with no intention ... La musica priva di ogni pensare, il mero contesto fenomenico di suoni, sarebbe l'equivalente acustico del caleidoscopio. E al contrario essa, come pensare assoluto, cesserebbe di esser musica e si convertirebbe al linguaggio» ["Musica e linguaggio"//"Filosofia e simbolismo"]

SULL'INTEGRALITA' E LA 'NEUE MUSIK'. La nostalgia di Adorno per un passato glorioso in cui la musica non era merce al servizio del profitto, non è quindi un'istanza conservatrice e reazionaria ma, al contrario, una volontà fortemente innovatrice, a tal punto che i modelli proposti per tale avanzamento del linguaggio musicale sono rappresentati secondo lui nei due opposti contigui : Schoenberg and Stravinsky. Stravinsky's music is "the sacrifice of the subject antiumanistico to the community, without tragic sacrifice, sacrificed not rising to the image of man, but blind validation of a condition that the victim himself acknowledges, is that with the autodeterminazzione 'extinguish' ['Philosophy of Modern Music "]. Stravinsky In fact, the recovery of the past "classic" is placed outside of history, contrived by contingency, but brilliant individual performance of the instance. Schönberg is instead to worry about the limitations of artificial and "self-inflicted" in a solitary search of external conditions of contemporary life (as we have seen in the previous post, Webern would come to an extreme version of the method in a continuous search for 'boundaries arithmetic'). Adorno defines the twelve-tone "full technical composition" , who saved the music of Schoenberg and the fate of contemporary music - summarized the issue between the different visions of Adorno's conception: recognizing the value of the revolutionary twelve-tone recognizes the value curator of a past not subject to the commodification of music features, and recognizing the value of conservative recognizes the value of a revolutionary model to that of man full and absolute language , expression of 'Unsaid' . "(The twelve-tone) is not kind nor in full view of the state, nor with the idea of \u200b\u200bdomination, but is an attempt to cope with and absorb the reality that anguish is precisely the panic that was full. Humanity must surpass that of the art world for love of man "[" Philosophy of Modern Music "]. Adorno's position on the 'Neue Musik' course is aligned to reflect on the 'popular music' and "meaningless" that this represents, according to Adorno the new music has taken upon himself the sins of the world : "The shocks of the incomprehensible, that the artistic technique distributes age of their foolishness, spill, give a sense of a world devoid of meaning: the sacrifice and all this new music. It took upon itself all the darkness and guilt of the world, all her happiness is to recognize the misery, all its beauty lies in avoiding the appearance of beauty. No one wants to deal with her, neither individual nor collective systems, it sounds unheard, without echoing. When music is played, the time congeals around in a shining crystal. But not hearing the music falls like a ball in the empty time fatal. This experience tends spontaneously to new music, mechanical music experience that makes every moment, the absolute be-forgotten. It is truly the manuscript in a bottle. "[" Philosophy of Modern Music "]. By its very nature and avant-garde Hermeticism of language, the Neue Musik in time has generated resistance from the public more conservative, basing his case on the illusion that music should enjoy a wide usability and on the belief that, as "ornament" of everyday life, the value can be measured by the amount of people who perceive, appreciate the message. Adorno calls this principle "projection of the inability to understand." And 'This is one of the most interesting messages that is veicolato dagli scritti di Adorno rispettivamente alla musica d'avanguardia e alla popular music: la complessità che soggiace nel linguaggio ermetico della musica d'avanguardia incontra un'illusione, ormai condivisa dai molti, che la musica si misura in base a parametri quantitativi e di vasta fruizione e, la comprensione immediata del messaggio veicolato, sia determinante nella valutazione qualitativa. Sono questi i parametri più in uso, a tutt'oggi, nella produzione di 'musica di consumo', primo elemento che ha determinato la vastissima convinzione del ruolo intrattenitivo della musica.

CONCLUSIONI. Come si è già affermato Adorno è stato sicuramente il personaggio e la mente che ha offerto the greatest theoretical contribution to the emancipation of dissonance then synthesized in the twelve-tone method and the New Music in Frankfurt. His first publication was dedicated to Expressionism and his violent language, expression of the deepest movements of the human soul, even on the side of music, right now appreciating the work of the Austrian Shoenberg. Then studied with this, becoming an active part of 'Second Viennese School' participating in the main intent of this: enter into the flow and tone of the crisis undermining its own rules, leading to a profound impact on all Western music. This summary brings the objectification of the revolutionary nature of the group, even developed in front of Darmstadt in the vanguard and post-Webern serial that, in an attempt to overcome the Wagnerian chromaticism, has led to a new understanding of music, becoming the foundations of contemporary music and contemporary approaches to electronic music. The contribution of Adorno complessissimo fits into the cultural climate that marks this moment of transition from the old conception of the world to modern society of mass, decoding and then all the synthesizers that were creandosi extreme simplification of form and content as a result of the languages. And 'this, in my opinion, and only in part, the value of the work Adorno: a tight analysis of an evolving world and languages expressive inextricably linked to social dynamics, cultural and political. Thus the analysis of the "Society of the Spectacle" passes through the rilfessione the commodification of its products, including, in this new conception of capital, production music and music of great enjoyment. Adorno argues: the value of art music is inversely proportional to the number of people who understand this music.

"The formal innovations of Schoenberg were closely related to the content of expression, and served to break out in reality. The first atonal works are "protocols" in the sense of psychoanalytic dream protocols. Kandinsky has (...) chiamato i suoi quadri “nudi di cervelli”» (T.W. ADORNO, "Filosofia della musica moderna").

Process For Tulsi Oil At Home

'Neue Musik' and post-Webern serialism. Constructivism serial contenutivi between impulse and formal discipline.

INTRO. Con questo articolo illustriamo le pulsioni che attraversarono l'Europa e l'Italia in seguito al "nuovo metodo seriale" introdotto dalla cosiddetta 'seconda scuola viennese' . In particolare l'origine del termine "Neue Musik" e l'eredità di Darmstadt , le radici delle musica contemporanea "d'avanguardia " e le estreme conseguenze dell'adattamento operated by the iron method Webern. Overall, the second part is devoted to the twelve-tone serial and constructivism of the post-Webern on Metaelectronica Research and paves the way for the deepening of Neue Musik to the basic elements of the contemporary electronic music. In the third part of this research will be addressed in more detail the many different issues relating to the serial method, through the study of systems and theoretical parts of Adorno on popular music and the role of avant-garde music.

Schoenberg came to the twelve-tone method in the early twenties, as already mentioned in the post "pantonal, twelve-tone technique, serialism full. towards a time when the electronic music Expressionist " that innovation is embedded in an active stream that was some time breaking down the tonal system, throwing a first line of separation from popular music and subverting the creative freedom of late Romanticism, then collect instance rationalist age. This method in fact, binds strongly to core paths traced by Gustav Mahler (for me one of the greatest composers of the century 900, with Rachmaninov and Stravinsky), leading to extreme that approach: Expressionist distortion of the traditional language (it should be noted that Mahler, though not sharing fully the method of "12 notes related to one another," has always strongly defended the destiny). E 'distorting its approach of German and European interests us, obviously in relation to serialism and mathematics in the context of artistic creation and musical composition.

"The invention of the method of composition with twelve notes in connection with themselves, better known as" twelve-tone method, "has placed Arnold Schönberg - regarded as its founder - in the position of dean of the musical, a position far from comfortable against troubled by the continuing controversy what has been described as a dangerous' play of language. "[" Perception and Reception of "New Music" in Italy after World War II "]

E 'own' the advancement of language" which, in my opinion, features and should characterize the essence and the underlying reasons of artistic and sign it contains. The limits of the territories of expression, in fact, suffer and must suffer further moves towards innovative and expressive forms, new languages, usually chasing a liberation from predetermined patterns (linguistic, visual, sound, etc.) in the case of integral serialism , instead, to search for patterns and rules determined by the number in the space of musical notation, in the balance between formality , Constructivism and the need contenutivi . In the early years of '900 Schönberg was looking for a balance between the impulse contenutivi "and the need for formal support for the fundamental function of the 'series' from which it originated" the musical material', through a simplification and schematization the tempered system theorized by Bach back in the early eighteenth century, "implosion" of the scale-hierarchical system-in favor of a succession of sounds including the pre-twelve notes that comprise the space of an octave. The method, carried out by the theories of Adorno, applied freely by Berg and carried to extremes by Webern, followed different lines of evolutionary development, is obviously linked to the "crisis" of the tonal system generatasi within the German music of the early twentieth century. The dangerous "play of language" that represented the serial was based on the assumption its constructivist implicit in the twelve-tone method, thereby generating different lines of development through the calculated and refined twelve-tone serial constructivism and the concept "contenutivi 'Berg's conception of creativity and the different arts pantheistic, fount of Nature (the theories is seen di Goethe a proposito) di Webern, in contrasto quindi all'assunto «contenutista» proprio del sinfonismo tedesco tardo-ottocentesco (nella cui opera di Schoenberg e Berg fu sempre, in qualche modo, riconoscibile).

SVILUPPI DODECAFONICI: LA SVOLTA DI DARMSTADT E LA 'NEUE MUSIK' (GENESI FORMALE DELLA MUSICA CONTEMPORANEA/D'AVANGUARDIA). Mentre in Webern il metodo dodecafonico fu un'evoluzione dei mezzi e dei percorsi di ricerca all'interno degli schemi naturali relativi alla creazione e alla creatività artistica già impiegati dallo stesso, il tutto applicato in una pura e brillante strutturazione formale, in Italia invece il metodo dodecafonico entrava nel gusto compositivo per gradi ed attraverso determinate figure, su tutte Luigi Dallapiccola, che intorno agli anni Trenta cominciò ad impiegare le teorie seriali in libertà e conservando i suoi legami con il lirismo tradizionale -modalità prevedibile in un luogo di tradizione formale in tutte le discipline come l'Italia. Infatti Dallapiccola si liberò di qualunque posizione rigida e settaria, facendo sempre un uso personale della dodecafonia: usava infatti non solo gli intervalli dissonanti propri della musica seriale (seconde, settime, none), ma anche intervalli consonanti, cosa che lo differenziò ampiamente dai dodecafonici viennesi. La dodecafonia segnò profondamente e definitivamente quella che si andava definendo come musica contemporanea , born as a reaction to the German and European romantic tradition of the nineteenth century and in 1919 in Germany, it became the first definition of Neue Musik , "New Music" , coined by Bekker in a report on musical trends of the time. At the end of the debate is always open to interpretation, debated the interpretation of the overall music produced in the last two centuries (interpretation of some 'bad in my opinion, because it defines a category so broad as to be non-existent) and avant-garde experimental music, whose category is delineated on complex compositional constructs and experimental compositions from the nineteenth and twentieth secolo, con Mahler, Stravinskij, Rachmaninov come elementi strutturali di questo flusso contemporaneo, e la complessità armonica delle opere tarde di Richard Wagner come origine e radice fondamentale. In quest'ottica l'opera di Mahler traccia una linea di continuità fra il Romanticismo Tedesco e la cosiddetta "Seconda scuola di Vienna" , fondata da Schoenberg e composta dei due principali allievi Berg e Webern e il cui termine fa riferimento ad un'implicita 'prima scuola viennese' : quella formata da Hydn, Mozart e Beethoven. Di questa traccia di continuità contenutistica e formale, è infatti emblematica la posizione di Mahler accennata above compared to the serial method.

The ADVANCED POST-Webern. Radical and highly advanced musical language. The re-definition of "New Music" in relation to constructivism twelve-tone, is due to the cycle of conferences held in 1933 by Webern, but the second half of the original meaning of '900 'Neue Musik' that characterized twelve-tone music, was renewed in an identification much larger: avant-garde experimental music. This expressive face was born in the town of Darmstadt, near Frankfurt, where he had established an information center and teaching on modern music, in an attempt to redefine the theory, composition, and related to music executives who were risking a loss finding because of the Nazi regime and its push against censorship of all those expressions are considered "degenarate" do not belong to the sustained superiority the Germanic tradition.

"In that environment, the initial assumption of information and training was radicalized in contact with the music of Webern, in an address of great progress of the musical language. The effect was to internationalize the" crisis " the musical language that had characterized the German music in the era between the death of Mahler's death Webern. The choice of music by Webern as the archetype of the progress of language is based on one of the many misunderstandings that make fruitful the development of the arts in a pantheistic determinism of Webern and his offer art as a result of the nature , the young musicians in music Webern saw only the outward appearance of a radical departure from tradition. Secondly, in defining postweberniana, the vanguard advanced the postulate of an indefinite prolongation of its nature "progressive", on the assumption that new language in terms of new meanings by subtracting so the music and art in general, the ' commodification ', ie to the fruition of consumerism. "

Adorno's theories contribute strongly to the evolutionary developments of the face expressive of Darmstadt which, under the different drives inside, unfolded in a multitude of experiences as well as theoretical composition and performance: from to Stockhausen Maderna, Luigi Nono Boulez, instances concerning the role and function of the experimental music diverged while maintaining a common will to cross boundaries of expression perennial , expressed by the so-called avant-garde post-Webern who showed the need for progress language in the European music scene, the slave of the tonal system, the massification and the commodification of art. The "New Music" was thus a social and political role (in a sense "ethical" ), as well as artistic, within this landscape, especially in relation to the theory of "death of art " (think of the early theories of Hegel on the failure of a condition linked to the artistic past and now, for example, to new influences, from 1915, Dadaism, which is immediately bearer of nihilistic and destructive enzymes facing the art ).

SERIALIZATION INTEGRAL AND 'ALEA'. THE RATIONALE OF THE SERIES creative reinterpretation THE "random sampling". interpretations and then flowed from the front of Darmstadt were numerous, and with different approaches to the concept of Neue Musik, even under the same experimental determination and progress of language. From a strict and extreme rationalization "integral serialism 'to' 'alea' , a method that takes advantage of the possible combinations of variables and structures of music notation. Having already addressed in its manifestations Webern serialism and post-Webern, we make a little digression on "random sampling" -o alea -, fundamental to deepen the approach of John Cage's composition and performance. L 'alea is that system of composition that the 50 went in the direction of an active and creative collaboration between composer and interpreter, and then passing through vast possibilities of expression and a different approach to music notation. What distinguishes practically the "method" is a "free composition" or "partly free" according to the parameters that limit the performance in accordance with the composer, in the case of restriction to certain parameters and then, for example, between improvisation certain heights, will be defined "controlled randomness". composers that define this method, and found the greatest exponents dell'alea were: John Cage, Karlheinz Stockhausen , Pierre Boulez and, in Italy, is considered the "founder" of aleatory music composer and conductor Bruno Maderna , one of the first to outline the main characters, the Italian Luciano Berio and Luigi Nono (especially with one of his last and most famous works, Fragmente-Stille, an Diotima for string quartet: inspired by fragments of text Nono writes very short pieces (Fragmente-Stille precisely, fragments-seconds) for the four performers, parties often not rigorous or precise, entrusted to the sensitivity of the artists themselves and improvisation "[Wikipedia]). method dell'alea delimited in a way different compositional approaches, flowing in diverse theoretical systems. While Stockhausen has always practiced a kind of flexibility to Constructivist possibility, the structures of their post-Webern serialism disparatissime came to the trials on the language, up to the 'randomness', instead Maderna was particularly sensitive to forms of constructivist research post-Webern, Nono instead represented more the sort of build up, exceeding Constructivism in favor of a formal-aesthetic research on the languages \u200b\u200band the trial, as a point of view, Luciano Berio. "The avant-garde post-Webern, finally took over the 'alea', new sources of noise, namely 'musique concrete' and 'electronic music', which were in the late twentieth century, new sources of production widely used in postweberniana garde sound, but not limited to it. "

NOTE: EXCESS OF LOSS AND SYMBOLISM. MAHLER'S WORK, THE LEGACY 'WAGNERIAN AND CRISIS-late romantic toward a redefinition of the tonal language CLASSIC AND NEW EXPERIMENTAL EXPERIENCES. In this synthetic route of new sound sources and compositional systems that they have crossed the pragmatic and theoretical experience between the end of '800, the beginning of 900, opening the way to new experimental courses in the second half of the twentieth century, music concrete, tape-music, electroacoustic, electronic music and pure electronic music, it was gone by drawing a wide path that unites the disparate currents of expression, the sign of a progressive advancement of expressive language, aesthetic and music specifically. Crossed by a time diverse expressive impulses, decadence, symbolism, the idea of \u200b\u200bliberation from patterns of their romance, an age, in terms of expressive research, continual research and transformations that have advanced progressivamente verso una messa in discussione generale dei linguaggi, dei sistemi produttivi dell'Arte mettendo in moto una crisi generale dei suddetti sistemi: la crisi del linguaggio tonale e il nuovo metodo dodecafonico, il serialismo integrale e la radicalizzazione weberniana, il superamento e la ridefinizione formale e contenutista delle categorie stesse del pensiero musicale della tradizione classico-romantica. Questo paragrafo vuole essere una nota riassuntiva di quanto scritto finora, con la volontà di indicare ed analizzare quell'importantissima fase di collegamento tra l'esperienza tardo-romantica e la 'Neue Musik'/musica contemporanea d'avanguardia . Ritengo che a proposito ci sia una grandissima confusione a riguardo -riscontrabile in many texts on the subject (the only arguments to be considered are those produced in that specific period or immediately thereafter, with particular attention to the work of Adorno theory) -, by showing any changes or fragmentation of systems and methods of expression as separate realities in its own right and not as cash flows, multiple and infinite branching, structural path of languages. What then is to emphasize is the importance of heredity 'late romantic', or rather of those composers who were, quite literally, a "bridge" between the crisis of decadence and symbolism, and the crisis of the tonal system, to achieve a first completion of that process defined "emancipation of dissonance" Mahler and Stravinsky in particular, and in the name of a specific desire of the evolution of artistic language in the context of the political thought of the twentieth century, the influence 's legacy Wagner - all elements of continuity with the experience of Schönberg, the' Second Viennese School ', to the research of ' pure 'and synesthetic of Olivier Messiaen (and, looking in perspective and long range, to the musique concrete, the electro-acoustic and electronic music, to the avant-garde tendencies niche today). Although denied by some historians of modern music is undeniable but the profound changes taking action on the Symbolist tradition, linking the idea and the genius Wagnerian opera contemporary constructivist approach to Webern and, on the opposite aesthetic in general, on arts, including visual ones, through the development expressionists and the abstract expressionist . The proceeds of a new musical language, to new conceptions dissonant paths Mahler or Stravinsky represent the "intermediate stage" , encountered that in a situation really awkward between the Romantic tradition, with the dissolution of formal schemes classic and schemi prestabiliti, in una concezione di rappresentazione come scaturigine dell'inconscio creativo, soffio dell'anima e rappresentazione di una vita interiore, pura intuizione dell'onnipotenza fantastica- e il razionalismo formale estremizzato nella 'serialità integrale' che, nella volontà di superare l'approccio tardoromantico, ne ingloba involontariamente l'essenza stessa del superamento; proprio come il romanticismo incorporò quei flussi evolutivi del protoromanticismo, in un accrescimento dinamico dello 'Sturm und Drang' , dell'opera di Beethoven, Schiller, Goethe, Novalis etc. Nelle modulazioni e nelle succesioni timbriche, in quella complessità cromatica dell'opera wagneriana, si ritrovano le passate accezioni di un uso più "indiscriminato" della dissonanza , attraversando molteplici stadi di penetrazione verso una complessità strutturale che appare come disgregazione del senso armonico della tonalità classica . La musica d'avanguardia seriale, invece, rispecchia una simmetria geometrica, in una contrapposizione -che è allo stesso tempo superamento- dell'instabilità dinamica dello Spirito e della vita interiore. Gli elementi dinamici fluiscono negli schemi, nelle serie, nei moti e nelle modulazioni. La libertà armonica del tardoromanticismo muta in stretta costruzione e pianificazione, in una strutturazione che sfrutta gli interstizi dissonanti della "pantonalità".

"At this tormented humanity, caught between the intoxication of the senses and the infinite anguish, lost in the impossible aspiration to an agreement between the finite self and the cosmic infinity of the divine, suffering from mysterious dizziness, soft and mysticism of disturbing fantasies, the music contributed greatly and gave at least one of the most representative: the unhappy Robert Schumann, who stood up with dignity alongside writers such as Tieck, Wackenroder, Novalis, Schlegel, Hoffmann , Schleiermacher. E 'in these minds that forms the typical romantic conception of music as an expression, even as a language capable of expressing that particular message è la nozione dell'infinito, magica comunione con la natura, mediazione soprannaturale fra sensi e spirito, fra l'individuo e il tutto. Quanto vi è di viziato e corrotto nella generale concezione romantica della vita e dell'arte contribuisce alla formazione di una pericolosa poetica della musica che, se non vieta ai romantici il conseguimento di splendidi risultati artistici, prepara la crisi post-wagneriana della musica europea e spiega la reazione antiromantica tentata dal Novecento"["Percezione e recezione della 'Nuova Musica' in Italia nel secondo dopoguerra"].